'Days stretched calm and plain to the horizon, as though we rose out of peat and will dwindle in a rumour of fog' Words by Emma Danes. This painting belongs to a group of works I have called The Light Series. It is a personal reflection on landscape — the landscape that surrounds me, the fields and skies of the Cambridgeshire Fenlands. The painting carries no topographical information: no trees, mountain peaks, hedgerows, or river valleys to navigate. The only compass availab

'After Glow' 80 x 80 cm Acrylic on Canvas 'Afterglow' — The Light Series This painting belongs to The Light Series, a group of works concerned with the landscape of the Cambridgeshire Fenlands. It is a personal reflection on the open fields and skies of East Anglia, though the work carries no topographical information to act as a compass or guide. There are no landmarks, no trees or hedgerows, no features that would anchor the image to a specific place. The viewer is left wit

Creating art is a fundamental part of my identity and a way for me to express my emotions and thoughts. When I make images, I feel like I’m connecting with something deeper. This process feels like a journey, where each brushstroke or pencil mark leads to new insights and understandings. Art helps me capture the complexities of life—its beauty, chaos, and mysteries. Each piece I create represents a specific moment, emotion, or idea that interests me. Making art isn't just abo

This painting, 'Archaeology of Thought', is made in oil and cold wax medium on a cradled wooden board. It belongs to a continuing body of work concerned with landscape, climate, and sensory experience translated into paint — work that asks what it means to record a place not through description but through accumulation. The title is deliberate. Archaeology implies excavation: the careful removal of material to reveal what lies beneath. But it also implies the reverse — the sl

Creating a convincing sense of the third dimension in painting is one of the medium's enduring challenges. There are many ways to render depth and recession — through perspective, tonal gradation, atmospheric colour — but some painters have pursued a more direct solution: the physical projection of paint beyond the picture plane into actual space. Van Gogh, Willem de Kooning, Frank Auerbach, and Anselm Kiefer are all painters known for the palpable, tactile presence of their

'One Hundred Years of Solitude' 150 x 100 cm Oil on Canvas

' The Archaeology of Thought' Oil and cold wax 60 x 60 cm

Borderlands. An abstract Landscape painting by Peter Corr. See his work at the Battersea Affordable Art Fair 21 - 24 October 21

‘Westmoor’ 100 x 150 x 4cm ‘Westmoor’ (Detail) The Fens around Ely come to life with colour at this time of year. The intense yellow...

Cambridge Open Studios, July 2021 In July 2021 I participated in Cambridge Open Studios — an annual event that opens artists' studios to the public across the Cambridge area. Open Studios is one of the most direct forms of engagement between artists and their audience: visitors come to the studio, see the work in the context in which it was made, and have the opportunity to talk with the artist about the process and the ideas behind the paintings. The Studio The studio is the

In painting, unconventional materials generate unexpected effects and unpredictable outcomes. They interact in ways that are difficult to anticipate and impossible to fully control — and that is precisely their value. The reassurance offered by conventional artists' materials can also be a constraint: knowing in advance what you will get tends to produce work that confirms rather than discovers. Deploying unfamiliar materials is a high-risk strategy, but it opens up new possi

'Reflections in the New Forest' — Artist Residency Work 'Reflections in the New Forest' is one of a group of paintings made during my residency in the New Forest. The title refers both to the literal reflections of trees and sky in the forest pools and streams, and to the more general quality of reflection — of looking back, of seeing the landscape in relation to memory and experience — that the residency encouraged. The Residency The New Forest residency was a period of sust

Concealment and the Art of Christo — A Fenland Encounter Christo's practice of wrapping and concealing objects and landscapes is one of the most distinctive and thought-provoking bodies of work in twentieth-century art. By covering familiar objects — buildings, bridges, coastlines — in fabric, Christo transformed them into something simultaneously recognisable and strange: the form was preserved but the surface was changed, and the act of concealment drew attention to the obj

Futurism, Movement and the Large-Scale Acrylic The Futurist painters of the early twentieth century were preoccupied with movement — with the representation of speed, energy, and the dynamism of modern life. Boccioni, Severini, and Balla developed a visual language for depicting objects in motion: the fragmentation of form, the multiplication of contours, the use of directional marks to suggest velocity. These ideas remain productive for painters working today, even in contex

Two Houses on Ten Mile Bank Fenlands Identical Twins, Roselle, New Jersey, 1967 Diane Arbus Don’t worry, I’m not claiming to have...

Gestural Painting — Scale, Movement and the Large Acrylic Gestural painting is, at its most fundamental, a record of physical movement. The marks on the canvas are traces of the body in motion — the arm, the wrist, the hand — and the energy of that movement is preserved in the dried paint. Working at a large scale amplifies this quality: the whole body becomes involved in the act of painting, and the resulting marks carry a physical presence that smaller-scale work cannot ach

Capturing the vitality and richness of oil paint in acrylics is a challenge. Oil paints have a natural, organic quality that is generally...

A painting inspired by the warmth and vibrancy of the Sun. For me, the shapes and colours of this work on hand made paper reflect the...

Saturated Colour and Abstraction — Acrylic on Canvas This group of paintings explores the expressive possibilities of saturated colour in an abstract context. Colour, in these works, is not descriptive — it does not refer to the colour of a specific landscape or object — but structural: it organises the composition, creates spatial relationships, and generates emotional resonance. Acrylic and Colour Acrylic paint is particularly well suited to the exploration of saturated col

As Winter relentlessly approaches I return to the world of fully saturated colour to reprise the warmth and light of the sun. Colour...